9PM
6 PM
Tuesday, April 26, 2011
Friday, April 22, 2011
Monday, March 28, 2011
Origins of the Internet and the Computer
The article Computing in Architectural Design (2004) discusses the history of Computer-Aided Design starting with the first use of computers in the building industry for engineering analysis. In 1963 with Sutherland’s invention of the sketch pad, he hoped to integrate the evolution of design and analysis programs. Although this system was created from the interest in using computers for architecture design, there were also talks among academic circles that created considerable influences in the development of computer-aided design. Later in the 1970’s, the presence of computers began to appear in architectural practices taking on two different approaches: geometric modeling and building specific. Many of the programs were used by the industry giants, such as General Motors, nut there were also university based research groups investigating CAD developments. Universities such as Carnegie Melon, University of Michigan and MIT were all contributors to the developments in the field of computer-aided design through programs such as building description and space planning; habitability, energy, and building specification analysis; and artificial intelligence.
With both universities and practicing industry giants researching developments in the field of computer-aided design CAD systems evolved into two other generations of systems. The appearance of second generation systems can attribute their growth to faster processors allowing for larger storage capacity, resolution of display screens and the invention of ink-jet printers. But even though these developments helped in the evolution of CAD systems, the second generation was far more graphically poorer than the first. As the third generation of these systems emerged there was a merging of research and graphic-oriented software, as seen in the projects SPICE from Carnegie-Melon University where nongeometric attributes created geometric shapes. This evolution in the development of the CAD systems has created an interface that, while some reluctance in the architectural community, have lead to continued efforts to expand knowledge and research in CAD development.
The article Pioneers of Digital Art (2004) discusses many different uses of computer graphics through identifying instances throughout history where digital means have contributed to the evolution of art. One of these instances is the 70’ Expo in Osaka, Japan where a Pepsi-Cola commissioned EAT created a pavilion that would house collaborations between artists, choreographers, musicians, scientists, and engineers in the area of art. Visitors to the pavilion were exposed to a geometric dome that was lit by spotlights which resembled a cloud type sculpture surrounded by pod structures that emitted sounds ranging from a whale singing to a truck engine. Although the experiences that this structure created both structurally externally and collaboratively internally were unique the cost of the project proved to create costly stress and event disputes for its corporate sponsors. This experience proved to mark the beginnings of digital media to be filled with high ambitions and expenses until the personal computer arrived in the 1980’s that shows that artist could not take on the task alone, it also required the help of engineers that had access to expensive hardware.
Other developments in computer projects such as military research, the Whirlwind project and digital drawings provide other significant developments in the area of digital arts. The military developments in their air defense system, SAGE, which was used to track Soviet aircraft in the mid 1950’s, paved the way for other developments in the digital media such as the creation of the Internet. The project Whirlwind, developed by MIT, marked the first time that the computer monitor was attached to the mainframe computer. The result was the generated sequence of a ball bouncing up and down and the first digital music creation programmed to play the song “Jingle Bells.” Lastly is the use of algorithms to create interior drawings of the cockpits by Boeing Airplanes. These computer generated designs not only contributed to the field of digital media, but also helping designing ergonomically.
Throughout the years many new advancements in the world of computers, from the creation of the mouse and the origins of the internet, provided a digital arena for the creation of new forms of art. But although these new art forms were gaining momentum in the art world, there was a tremendous disapproval from both critics and art fans alike. There was also the issue of high prices and limited availability during the 1980’s that along with the disapproval, contributed to a standstill in the development of tools for the digital media. Therefore the computer access that was needed for the research needed for advancements was limited to the military, industry and research universities.
20 Things I Learned About Browsers & the Web (2010) discuses the origins of the many capabilities of the Internet. Cloud Computing is one area that the article covers which the way that thousands of people and their computers connect to the Internet to provide all of the information that you are able to view. This ultimately creates a supercomputer at you disposal accessed directly from you desktop or laptop. But when connecting to the Internet there are risks involved, your information is exposed for attackers to access through the creations of malicious websites. Now that the developers of browsers are more conscientious of these threats most modern browsers are built to protect you against online threats by checking the websites, providing notifications of updates, and using the browser sandbox to curb codes. With this and more new developments in the Internet there is a vast possibility of what the future will hold for the Internet user.
All of these articles suggest that the future of computer-aided design/internet is evolving at a rapid pace. With the needs of both artists and designers driving the market for the development of design tools, artists are now becoming the engineers and programmers of their own software. But since the era of new technologies is still emerging there is still the need for collaborations between researchers, technology experts and artists. Looking ahead, these collaborations prove to provide great new creations through the knowledge of both art and science.
Chan, M. L., Holznagel, F., & Krantz, M. (2010). 20 Things I Learned About Browsers and the Web. 20 Things I Learned About Browsers and the Web. Retrieved March 29, 2011, from http://www.20thingsilearned.com/web-apps/1#/theend/1
Kalay, Y. (2004). Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design. The MIT Press.
Lewis, R. L., & Luciana, J. (2004). Digital Media: An Introduction (1st ed.). Prentice Hall.
Tuesday, March 1, 2011
Sunday, February 27, 2011
Research Topic Proposal (Revised II)
INTRODUCTION/ PRODUCT DESCRIPTION:
This study focuses on the benefits of 3D rendering and animation, with 3ds Max, and modeling, with Rhino, through their application to an interactive wall/screen system. Currently the state of animation covers a range of different areas in the market, and it is not strictly centered on cartoons, “even the most realistic movies call on animations to simulate an ungettable shot or to make a moment just a smidge more perfect” (Brady, 2006). Conceptually the driving factors of this design are based on organic forms, more specifically radiolarian structures. Radiolaria, a marine protozoa, produce sets of intricate skeletal type structures that can be manipulated, stretching and pulling, which is what the design of the wall screen will be based upon. Through the application of animations to this design it will enable a clearer understanding of how the user can interact with the environment that the wall/screen is placed. The creation of an animated environment the user can also understand how the wall/screen is affected by varying conditions which include natural, such as lighting, and human, the different ways the user can be involved with the product. Changing lighting conditions dependent on times of day and year can be applied through the use of 3ds max with light studies, which can show the reflectiveness of materials, manipulation of shadows, and how the environment is altered. Moveable elements can also be shown to represent the different manipulations of the product within the space.
METHOD:
Tools and Techniques
The tools that will be used to create this wall/screen in an environment will be Rhino and 3Ds Max. There has been a significant amount of time invested into the self-learning of Rhino which will be beneficial to the modeling and manipulation of this design. The basis of this manipulation is founded on the fundamental structure of the radiolarian, a honeycomb pattern. Therefore the honeycomb structure will be created in Rhino and then stretched and twisted to create the form on which the design is built upon. After the modeling and manipulation is completed it will then be imported into 3Ds Max where an environment is created which will hold the structure. Materials and lighting can then be applied which will give the wall/screen system an in-site view of an installed finished product through renderings. Walkthrough animations will also be created to show how users can move through and around the system within the space, which can change the dynamics of the space itself.
Limitations and Constraints
There is the assumption that through introducing 3D animation to the design of a wall/screen system it will communicate user interaction, such as what the space will look like as the user walks through the space. But there are some possible constraints in implementation; these can include computing power, time to learn the software, and communicating how the user can interact through animation. In terms of computing power there may be a problem with the size of the file that is being loaded into the program. The larger and more complex the file size, the slower it will run, therefore there is the possibility that once rendering and animation is introduced, the file may be so large or complex it may have difficulty running properly. There is also an issue of time constrains in which to learn the software. In the time allotted, there is not a lot of time to do an in depth study to efficiently learn all of the capabilities of the software. Another issue with time is also the fact that learning the software is self guided, through tutorials found on Lynda.com and books on the subject. There will be a limited availability for help when troubleshooting problems that are encountered through the process. Lastly there are limitations in the software which can possibly keep the user from understanding their interaction with the product.
RESULTS/OUTCOME:
The results of this study will be a wall/screen system shown in different iterations through the alteration of the environment. Through the digital exploration of this system I will be able to understand the impact on the physical product through interactive studies. Animations will allow a walkthrough of an environment where the wall/screen is installed and how it can be affected by natural and human responses. Problems with the system an also be addressed based on how the installation is installed and designed, which will determine whether elements should be moved around or changed based on how I would like to manipulate the environment.
CONCLUSIONS:
Troubleshooting
Issues encountered in the initial design phases resulted in a few setbacks with learning 3Ds max. Importing models from Rhino was one of these issues encountered that caused some difficulty. Files imported into 3Ds Max from Rhino as 3dm files only import a wireframe model into Max, which does not allow the application of materials or rendering. I found that exporting in Rhino was the key to the problem. NURBS meshes must be created before the object is exported from Rhino. Once the creation of NURBS is selected and the polysurfaces to mesh are chosen you have the option to choose the amount of polygons to include in the mesh. Rhino then calculates the meshes and the polygons can be seen on the faces of the object. Then the object can be exported into 3Ds Max and surfaces can be seen for materials to be applied and renderings to appear.
Uses of 3D Media
The benefits of using 3D media to design, render and animate a found in the creation of these radioloria based structures through the manipulation of elements in the programs, the understanding of how these forms will alter the space within they are placed, and different variations that can be developed without the creation of a model.
REFERENCES:
Brady, M. (2006, March). Wired 14.03: How Digital Animation Conquered Hollywood. Wired. Retrieved February 7, 2011, from http://www.wired.com/wired/archive/14.03/animation.html
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